Adrien Brody definitely shows some actorly mettle in a picture that feels like a poor cousin of ones like Buried or the vibrant 127 Hours.
A mostly dialogue-free Wrecked features the youngest-ever male Best Actor Oscar winner as some anonymous, agonized and confused man. He has awakened to find himself trapped (with a compound leg fracture) in a smashed-up car which careened from a mountain road to the bottom of a forest ravine.
Tyro helmer Michael Greenspan gives one the sense of what is happening to the bloody woozy guy whose right leg is up against a dashboard, unable to open the damaged door at his side. But, he'll have a revolver, a gear shift, as well as his belt and seat belt to find a large sum of money and collect rainwater for sustenance. Enough to last where he can get closer to civilization for food.
Instead of the jungles against merciless aliens in Predators, Brody is in another insufficient manifestation of primal instinct with the character's mental distress (from vague collections, presumably of recent events) encroaching on his resourcefulness. Think a little of the recent Unknown crossed a little with the likes of The Lookout and The Way Back. Even the unsettling, prickly drama of Gulf War distress, The Jacket, which starred Brody as a disillusioned vet accused of killing a state trooper who ends up in an insane asylum.
The filmmakers make decent use of a (smaller-scaled) wilderness setting where a mountain cat prowls with the flawed, frustrated protagonist using upper-body strength to guide himself uphill or the other way to river rapids.
What's frustrating to the onlooker might be what periodically appears when it comes to a hunter, a german shepherd, and a female hiker (Caroline Dhavernas of The Switch who may have been a victim of criminal act). The darkness of the past plays out in the parched plotting from Christopher Dodd (not the former senator and prominent with the MPAA) which seems like its rooted in Greek Mythology (if one remember a King of Corinth).
Still, Brody's indefatigable, suffering presence is admirable enough even if a laborious, teasing meagerly mounted cinema like this becomes wrecked (read suspense fully enervated) by the consequences of what may have been forgotten.